April 2012 - Queensland Symphony Orchestra

Contents 

QSO plays Beethoven 

Morning Masterworks 2 

QSO with Johannes Fritzsch 

Maestro 4 

QSO with Benjamin Northey 

20/21 One 

3 

8 

17 

Biographies 23 

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QSO ON THE RADIO 

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2012 | QSO APRIL PROGRAM 1

MORNING MASTERWORKS 2 

2 2012 | QSO APRIL PROGRAM 

QSO PLAYS 

BEETHOVEN 

11am, Thursday 5 April | QPAC Concert Hall 

CONDUCTOR Enrique Arturo Diemecke 

PIANO Sergio Tiempo 

CHOPIN Piano Concerto No.1 

BEETHOVEN Symphony No.6 Pastoral 

Morning Masterworks is 

proudly co-produced by 

Proudly supported by 


Program Notes 

FRÉDÉRIC CHOPIN 

(1810-1849) 

Piano Concerto No.1 in E minor, Op.11 

Allegro maestoso 

Romance (Larghetto) 

Rondo (Vivace) 

Sergio Tiempo, Piano 

The Warsaw which Chopin knew in the 

1820s supported a reasonably varied 

musical life: there were symphonic and choral 

concerts, and appearances by touring virtuosi 

such as Paganini. Performances by visiting 

Italian opera companies probably instilled in 

the young Pole a lifelong love of the human 

voice and a desire to incorporate the spirit of 

bel canto into his piano compositions. Chopin 

played concertos by Ries, Moscheles and 

Hummel before leaving Poland in 1831 for 

Paris, where he would spend the rest of his 

life. Indeed Johann Nepomuk Hummel is one 

of that group of composers (including the 

Irishman John Field and the Germans Weber, 

Spohr and Kalkbrenner) who are often 

quoted as influences on Chopin’s writing. 

It is tempting to declare that certain 

passages in the Hummel and Field concertos 

sound like pure Chopin, but the difference 

lies in the way Chopin utilises cascades 

of scales, awkward leaps, arpeggiated 

figurations and difficult trills for artistic 

ends, of a type of musical expressiveness 

which already bears his personal stamp. All 

the characteristics of his later compositions 

and his playing style are in evidence: colour 

and constantly shifting nuance, the need for 

rubato, elegance of phrasing, lovely singing 

tone, legato touch and imaginative pedal 

effects. The nocturnes of Field inspired 

Chopin to write works bearing the same title, 

and there are unmistakable similarities with 

both composers’ concertos: compositional 

fluency, the capacity to explore the entire 

range of the keyboard and an underlying 

streak of wistful melancholy. Yet the fact 

remains that Field was a remarkable talent 

whereas Chopin was simply a genius. 

There is another way in which Chopin’s 

concertos are different: they were written by 

a young composer influenced by the surge 

of Polish nationalism. Their final movements 

are cast in the form of Polish folk dances (a 

krakowiak and a mazurka respectively), full 

of colour and infectious vitality expressive 

of nationalistic fervour. Unlike the finales of 

many other piano concertos, they are strong 

movements which complement perfectly 

their companions. 

It has been fashionable to deride Chopin’s 

orchestrations as colourless and inept. It 

must be admitted that Chopin limited the 

role of the orchestra as Liszt, Schumann and 

even Mendelssohn did not, letting it provide 

a sonorous backdrop for the solo part rather 

than engage in a genuine dialogue. However, 

Chopin always thought in pianistic terms and 

did not feel inclined to abandon his natural 

territory. Various attempts to reorchestrate 

the concertos (by Karl Klindworth and Karl 

Tausig) have generally not proved successful, 

and they are usually performed in their 

original form. 

Although the E minor concerto is known 

as the first and bears a lower opus number, 

it was actually written after the F minor but 

published first, hence the numbering with 

which we are familiar. The E minor dates from 

1830 and appeared in print three years later; 

the F minor was begun in 1829, completed 

the following year but not published until 

1836. 

David Bollard © 1998. 

LUDWIG VAN BEETHOVEN 

(1770-1827) 

Symphony No.6 in F, Op.68 Pastoral 

Awakening of happy feelings on arrival in the 

country (Allegro ma non troppo) 

Scene by the brook (Andante molto mosso) 

Peasants’ merrymaking (Allegro) – 

Thunderstorm (Allegro) – 

Shepherd’s song: 

Thanksgiving after the storm (Allegretto) 

When Beethoven sought tranquillity in the 

wooded environs of Heiligenstadt, outside 

Vienna, during the summer of 1802, his 

attention was drawn to a shepherd’s flute 

sounding in the fields but, the composer 

heard nothing. The realisation of the extent 

of his encroaching deafness was crushing. 

Months later he recalled the incident in the 

agony of his Heiligenstadt Testament. While 

Beethoven could face the prospect of being 

cut off from normal human communication, 

he was in despair at the thought of no longer 

hearing the voice of his best friend, Nature. 

In choosing to glorify Nature in his Sixth 

Symphony, Beethoven does no more nor 

less than give praise to God for all His 

works. There is no descent from the titanic 

4 2012 | QSO APRIL PROGRAM 2012 | QSO APRIL PROGRAM 5

Fifth Symphony to mere pictorial music in 

the Sixth: Beethoven made it clear that his 

descriptive program for the work was ‘more 

an expression of feeling than tone-painting’. 

If the C minor Symphony was an assertion 

of his confidence in human will, then the F 

major Symphony proclaims his confidence in 

a divine Creator. It is the spiritual reverse of 

the same coin. 

Indeed, composition of the two symphonies 

proceeded more or less concurrently, on 

parallel and complementary lines, and they 

were premiered together in the same concert 

in Vienna on 22 December 1808, the one 

expansive and joyous, the other concise and 

forceful. 

The first two movements of the Sixth, 

inspired by the calm of Heiligenstadt, 

establish tranquillity as a state of being, the 

idyllic existence, Nature pure and unspoilt. In 

the third movement, humankind intervenes 

with the merrymaking of peasants, raucous 

and bucolic; the forces of Nature react in 

one of the most graphic storms in music; 

and when the dark clouds lift, leaving the 

land cleansed and purified, mankind raises its 

voice in heartfelt praise. 

So in the Sixth, as in the Fifth, there is a 

sense of catharsis in reaching the finale. 

Though the Storm is identified as an 

independent movement, it nevertheless 

serves as a bridge passage similar to the 

transition linking the last two movements of 

the Fifth – a link between scherzo and finale, 

yet psychologically a hazard or trial through 

which mankind must pass. The promised 

land in one case is human exultation, in 

the other spiritual exaltation. The Pastoral 

Symphony describes a full circle, from a state 

of tranquillity through the intervention first 

of human forces, then the fury of nature, to 

a plateau of peace. Beethoven sings praise 

to God in the serenity, the joyousness, and 

the elemental turbulence of His manifold 

creations, but ultimately in the innate beauty 

of all of them. 

The representation of birdsong at the end 

of the slow movement (nightingale on flute, 

quail on oboe, and cuckoo on clarinet) forms 

an idyllic coda to one of the most deeply 

felt sonata-form structures Beethoven 

ever created. But this, like the Storm, is 

no naïve pictorialism. Beethoven insisted 

that he only ever depicted sounds which 

were in themselves musical and, as William 

Mann points out, the ‘long liquid trill’ of the 

nightingale is just the way Beethoven himself 

sometimes expressed happiness. 

Beethoven’s use of pictorial elements in 

the Pastoral Symphony, therefore, and 

the superficially radical structure of two 

closed movements followed by three linked 

movements played without a break, are 

clearly mere extensions and embellishments 

of the traditional form. ‘We have then,’ as 

Tovey says, ‘to deal with a perfect classical 

symphony.’ And one, moreover, in which 

Beethoven communes more closely with God 

than in any other of his symphonies except, 

perhaps, the Ninth. 

Anthony Cane © 1998/2011 

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MAESTRO 4 

QSO WITH 

JOHANNES FRITZSCH 

8pm, Saturday 21 April | QPAC Concert Hall 

CONDUCTOR Johannes Fritzsch 

OBOE Alexei Ogrintchouk 

CELLO David Lale 

VIOLA Yoko Okayasu 

BEETHOVEN Symphony No.8 

MOZART Oboe Concerto 

-interval- 

R STRAUSS Don Quixote 


Program Notes 

LUDWIG VAN BEETHOVEN 

(1770-1827) 

Symphony No.8 in F, Op.93 

Allegro vivace con brio 

Allegretto scherzando 

Tempo di minuetto 

Allegro vivace 

The Eighth must surely be a young man’s 

symphony, bursting on us as it does with 

the boundless energy of a frisky colt. Yet 

Beethoven was in his forties by the time he 

composed it in 1811 and 1812. The time 

he was most busily working on it, following 

the completion of Symphony No.7 in mid- 

1812, is widely thought to have been the 

occasion when he penned the rapt letter to 

his unnamed ‘Immortal Beloved’. 

Since the two symphonies were composed 

virtually in tandem, and derived from the 

same collection of sketches, it is hardly 

surprising that they have characteristics in 

common. But while the Seventh is relatively 

relaxed and expansive, the Eighth is taut and 

highly compressed. Wasting no time with 

any sort of introduction, Beethoven launches 

straight into the main theme, self-confident 

and self-sufficient. 

As in the Seventh Symphony, Beethoven 

does without a true slow movement, but 

here he adds a qualification to the Allegretto 

marking: scherzando. This neat, deceptively 

straightforward little movement can thus 

be invested with the light-heartedness of 

a scherzo, allowing the third movement to 

be an ‘old-fashioned’ minuet rather than the 

fierce Beethovenian scherzo which listeners 

had come to expect. 

A scurrying theme begins the finale, only to 

be crudely dismissed by a loud and irrelevant 

chord of C sharp. This immediately unleashes 

the whirlwind. In a remarkable movement, by 

dint of omitting formal repeats, Beethoven 

manages (in Robert Simpson’s analysis) to 

produce two complete developments and 

two complete recapitulations, together with 

a coda. 

Beethoven conducted the first performance 

of the Eighth Symphony before a packed 

house in the Grand Redoutensaal in Vienna 

on 27 February 1814. There are signs 

among Beethoven’s sketches that he was 

contemplating a symphony in D minor as 

a companion to the pair of 1812, but as 

the Napoleonic Wars neared their end, the 

composer was entering a period during which 

work would be difficult for him, and that 

project was not to be realised for more than 

a decade. 

Abridged from an annotation by Anthony Cane 

© 1998/2011 

WOLFGANG AMADEUS 

MOZART (1756-1791) 

Oboe Concerto in C, K.314 

Allegro aperto 

Adagio non troppo 

Rondo (Allegretto) 

Alexei Ogrintchouk, Oboe 

This concerto is more often heard, these 

days, played on the oboe, however for years 

it was known only as the Flute Concerto 

in D. Scholars were aware that Mozart, in 

1777, had composed a concerto for the 

oboist Ferlendis, who had recently joined the 

Salzburg Court Orchestra, but the work was 

thought to be lost. 

In 1920 Bernhard Paumgartner discovered 

in the Salzburg Mozarteum library a set of 

orchestral parts for a concerto in C major 

for oboe by Mozart, which was obviously an 

oboe version of his D major flute concerto. 

The familiar flute version had been prepared 

in 1778 to fulfil a commission for two flute 

concertos. Most probably Mozart had 

composed one (K.313) then, pressed for 

time, adapted the oboe concerto. 

The C major concerto is now central to the 

oboe repertoire. A deft and refined essay in 

the classical style, there are many ingenious 

and witty touches, such as the mock-serious 

cadence figure with repeated notes and a 

descending arpeggio which the soloist later 

extends. Donald Tovey finds opera buffa 

malice from the second violins, and tuttis 

crowded with contrapuntal and operatic life 

– typical Mozartian concerto writing, but 

never drawing attention to its skill. 

The second movement is mainly a lyrical 

cantilena for the soloist. A character in a 

later opera by Mozart gives the feeling of 

the Rondo: Blonde, the pert servant girl in 

The Abduction from the Seraglio, in whose 

aria Welche Wonne, welche Lust (Oh what 

pleasure, oh what joy!) Mozart returned to 

a variant of this rondo theme. In the second 

episode of the Rondo, first and second violins 

chase one another in a passage in threepart 

canonic counterpoint, worthy of the 

ingenuity of an improvising organist, and 

underpinned by a pedal note on the horns. 

Entertainment and the opportunity for 

virtuoso display is the keynote here. 

Abridged from an annotation by David Garrett 

© 2002 


RICHARD STRAUSS 

(1864-1949) 

Don Quixote – Fantastic Variations on a 

Knightly Theme, Op.35 

David Lale, Cello and 

Yoko Okayasu, Viola 

Don Quixote was Richard Strauss’ third 

character study after Don Juan and Till 

Eulenspiegel, and (unusually for a tone 

poem) takes the form of a strict theme and 

variations. Strauss’ designation of the work 

as being for grosses Orchester belies the 

extent of soloistic work, especially a solo 

cello representing Don Quixote, and a viola as 

his squire, Sancho Panza. Other sides to both 

these characters are presented by the solo 

violin (for the Don), and bass clarinet and 

tenor tuba, Sancho’s alter-egos. 

Strauss based his score on incidents in 

Cervantes’ epic novel in which Don Quixote, 

obsessed with tales of chivalrous knights, 

leads his squire Sancho Panza on a series of 

misadventures. 

Variation I comes from the famous episode 

where Don Quixote, mistaking windmills for 

giants, launches a ludicrous attack on them. 

Variation II: A pastoral theme suggests the 

flocks of sheep which the Don mistakes for 

the mighty armies of Alifanfaron, Emperor 

of Trapobana, and Pentapolin, King of the 

Garamantas. Strauss gives this episode a 

victorious outcome, unlike Cervantes who 

has the shepherds throwing stones at his 

hero, breaking two of his ribs and knocking 

out his teeth. 

Strauss called Variation III ‘Sancho’s 

conversations, questions, demands and 

proverbs; Don Quixote’s instructing, 

appeasing and promises’. 

Variation IV: The Don mistakes a group 

of penitents carrying a statue of the 

Virgin Mary for ‘villainous and unmannerly 

scoundrels’ abducting a lady. When he 

intervenes, the penitents set upon him. 

Variation V takes us back to an early part of 

the story: the Don’s vigil over his armour. The 

theme representing Dulcinea, Quixote’s love 

interest, appears shrouded in magical figures 

from the harp. 

In Variation VI the Don sets off with Sancho 

for Dulcinea’s home town, charging Sancho 

to find his Lady; at his wits’ end, Sancho 

points out three peasant girls on donkeys 

who, he says, are Dulcinea and two serving 

girls. 

Variation VII comes from the long episode 

where the Don and Sancho are subjected to 

a series of leg-pulls. One of these requires 

the Don to travel 9,681 leagues on a flying 

horse, and the orchestra takes us away on an 

entertaining ride. 

Strauss slyly reveals the true state of 

affairs (that the flying horse is a toy; that 

the impression of wind is really created by 

bellows) by continuously sounding a pedal 

note of D. 

Variation VIII depicts the ‘Enchanted Boat’ 

which, taken from the riverbank by the Don 

and Sancho, drifts towards a weir amidst 

some water mills and is smashed to pieces. 

In Variation IX, the Don mistakes two 

Benedictine monks, whose intense 

conversation is conveyed by bassoons, for 

sorcerers bearing off a princess. 

The final variation follows without a break – 

the Don’s battle with the Knight of the White 

Moon, fellow-villager Sampson Carrasco, 

who, in disguise, hopes to defeat the Don 

and in doing so exact a promise from him to 

give up his foolish quests and return home. 

The orchestra depicts the jousting of the two 

contenders, but most graphic and moving is 

the Don’s leaden-footed return, a powerful 

pedal point reinforced by regular timpani 

strokes. The Don considers taking up a 

pastoral life (the shepherd’s piping is heard), 

but at least the worst of his delusions is over, 

and he is becoming restored to clarity. 

The work closes with a depiction of Don 

Quixote’s death, a moving melody for cello. 

Subtle tremors of impending death are heard. 

The soloist often ends up slumped over his 

cello at the conclusion of the dying glissando. 

Adapted from a note by Gordon Kalton Williams 

Symphony Australia © 1998 


Backstage Pass 

ALEXEI OGRINTCHOUK 

You are an inspiration to QSO’s Principal 

Cor Anglais player, Amelia Coleman, who 

won the 2012 Ann Hoban Fellowship to 

take part in your oboe class in Geneva. Can 

you describe what you teach in one of the 

most sought after oboe classes in Europe? 

I am happy to be a successor of Maurice 

Bourgue at the Geneva Conservatory. It’s a 

wonderful school! I studied in Paris, and in 

my teaching I try to continue the line of my 

teachers: Maurice Bourgue, Jacques Tys and 

Jean-Louis Capezzali. 

When did you first start to play the oboe 

and what made you decide to choose the 

oboe? 

I started to play oboe when I was nine. 

When I was a small boy my parents brought 

me to listen to many classical concerts, 

and even the symphony orchestra. I always 

remembered the oboe sound especially, and 

we can say I fell in love! 

What type of oboe do you play? 

I play an oboe Marigaux 2011. 

Do you make your own reeds and if so can 

you describe the making process? 

I think every oboe player should be able to 

make his own reeds. I make the reeds myself. 

It takes the greatest part of the working 

time, and is a very delicate and complicated 

process. Some people say that the mood 

of an oboe player depends on whether he 

has a good reed or not. 


You have a distinguished career as both 

a soloist and an orchestral performer. 

How does your concert preparation differ 

between both performance styles? 

I feel happy and rich musically, playing in such 

a great orchestra, as Royal Concertgebouw, 

to have many exciting solo and chamber 

music performances and to teach in Geneva. 

It gives a feeling of a full musical life! 

How would you describe Mozart’s Oboe 

Concerto? 

Of course it’s one of the greatest pieces of 

oboe repertoire, which we carry and develop 

during all life! I am always happy to perform 

this great music! 

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20/21 ONE 


QSO WITH 

BENJAMIN 

NORTHEY 

7pm, Saturday 28 April 

Conservatorium Theatre 

CONDUCTOR Benjamín Northey 

SAXOPHONE Amy Dickson 

KATS-CHERNIN Heaven is Closed 

GLASS ARR. DICKSON Violin Concerto 

No.1 arr. for Saxophone 

-interval- 

ISAACS Serenade for Orchestra 

(world premiere) 

KATS-CHERNIN Winter from The Seasons 

(based on Spheres) 

STANHOPE Fantasia on a Theme 

of Vaughan Williams 

Proudly supported by 


Program Notes 

ELENA KATS-CHERNIN 

(Born 1957) 

Born in Tashkent, Uzbekistan, Elena Kats- 

Chernin studied music in Moscow, Sydney 

and Hanover. She has created works in nearly 

every genre, from orchestral to chamber and 

choral compositions, among them pieces for 

Michael Collins, Evelyn Glennie, Ensemble 

Modern, Australian Chamber Orchestra, Sydney 

Symphony, and the Tasmanian and Melbourne 

Symphony Orchestras. She has written four 

chamber operas and the soundtracks for three 

silent films and her music featured at the 

opening ceremony of the 2000 Sydney Olympic 

Games and the 2003 Rugby World Cup. 

She has received several awards, including a 

Sounds Australian Award in 1996 for Cadences, 

Deviations and Scarlatti, and Green Room 

and Helpmann Awards in 2004 for the score 

to Meryl Tankard’s ballet Wild Swans. The 

TSO’s recording of ‘Eliza Aria’ from the CD 

Wild Swans featured in a highly successful 

television commercial by Lloyds TSB in the 

UK. Russian Rag was used as Max’s theme in 

the 2009 claymation film Mary and Max by 

Oscar-winning director Adam Elliot. Her music 

for the ballet interpretation of the children’s 

book The Little Green Road to Fairyland 

received its premiere at the 2011 Queensland 

Music Festival. She is currently Composerin-Residence 

with Queensland Symphony 

Orchestra, who premiered her new work 

Symphonia Eluvium, commissioned by the 

Brisbane Festival, in September 2011. 

In January 2012 her music for cello and 

percussion for William Yang’s photographic 

show ‘I am a Camera’ was premiered at the 

Sydney Festival. Fast Blue Village, the CD of her 

music for string quartet played by the Acacia 

Ensemble, is due for release this year. 

Heaven is Closed 

Titles and ideas come together for Elena Kats- 

Chernin. Heaven is Closed suggested a wry, 

resigned humour. Iconoclastic it may be – if 

New Age devotees offer heaven, this slams 

the door in their face. The music knocks on a 

door, repetitively. If that one doesn’t answer, 

try another – but they’re all closed. Perhaps 

heaven is full. Or it is closed for business. 

Heaven, it seems, could not be more closed, or 

perhaps just so far away. The composer lived 

with serious illness of a close family member as 

she wrote. There was not much to look forward 

to. The mind needs to adjust. Heaven means 

bliss, and if it is to be found, it must be here 

and now, in daily being. These were religious 

reflections, but not consciously those of Elena’s 

Jewish heritage, nor any other formal religious 

system. When she thinks about heaven, the idea 

of blissful states and places often visits her in 

vivid images of the picture-book fairy stories 

of Russian childhood. Folk imagination portrays 

heaven as a playful place, and even if it is closed, 

its games can be played here, in music. 

David Garrett © 2000 

The Seasons for piano and strings: Winter 

The composer writes: 

Winter is the last movement of The Seasons 

for piano and strings, commissioned by the 

great Australian poet Barbara Blackman. The 

piece was premiered in May 2011 during 

the Canberra International Music Festival. 

For me, Winter conjures moments of still, 

pale lemon shaded images, a drained and 

vacant landscape which is nevertheless full 

of promise. 

Winter begins with a solo viola introducing 

a searching melody in E minor. The 

cellos enter with a tentative plucked 

accompaniment. Piano makes its first 

appearance with the two-note theme on 

which the piece is based. The harmony 

oscillates between two main chords creating 

a sense of stillness that is also expectant. 

The material becomes more passionate 

as it grows and the culminating moment 

arrives with a significant shift (as in the 

transformation of the seasons) to the tonic 

major. Now the initial viola theme is painted 

with a new optimism and sense of warmth. 

MARK ISAACS 

(Born 1958) 

Serenade for orchestra (2011) 

WORLD PREMIERE 

Mark Isaacs has achieved widespread 

recognition as a pianist and composer working 

in both classical music and jazz. 

As a jazz pianist he has toured extensively 

in Europe, Russia, Asia, the USA, Australasia 

and the Pacific, and collaborated with artists 

including Dave Holland, Roy Haynes, Kenny 

Wheeler, Adam Nussbaum, Vinnie Colaiuta 

and Bob Sheppard. He was involved with 

programming jazz at the Brisbane Powerhouse 

from 2005 to 2010, including curating the 

inaugural Brisbane Jazz Festival. 

He has performed as a classical pianist and 

conductor, and has composed around 100 

major works ranging across orchestral, chamber, 

choral and solo repertoire, as well as scores for 

film, television and the theatre. Recent works 

include the solo piano piece Children’s Songs, 

premiered by the composer at this year’s 

Adelaide Festival, and Five Bagatelles for solo 

guitar, due to be premiered by Timothy Kain 

in April 2012. 


Current and future projects include a 

chamber music suite which he will record 

with members of the Goldner Quartet, 

Australia Ensemble and Sydney Symphony 

Orchestra; and the premiere of his cello 

concerto Invocations in May 2012. 

Serenade for orchestra began life in 2004 as 

a string quartet before being transcribed as 

the middle movement of Isaacs’ Sextet for 

strings five years later. The composer made 

tonight’s version for orchestra in 2011. 

A short but highly concentrated work of five 

minutes’ duration, it has the shape of an arch, 

building from the hymn-like opening with 

incremental increases in tension – and tempo 

– to an abrasive climax, before winding down 

to a slow, evanescent end. 

PAUL STANHOPE 

(Born 1969) 

Fantasia on a Theme of Vaughan Williams 

(2003) 

Australian composer Paul Stanhope says 

his music is inspired by a diverse array of 

material and presents the listener with ‘an 

optimistic, personal geography…whether this 

is a reaction to the elemental aspects of the 

universe (both the celestial and terrestrial) or 

the throbbing energy of the inner-city’. 

His Fantasia on a Theme of Vaughan Williams 

pays homage to Vaughan Williams’ Fantasia 

on a Theme by Thomas Tallis. Just as Vaughan 

Williams uses a chorale theme by Thomas 

Tallis in his work, Stanhope uses Vaughan 

Williams’ tune Down Ampney (which sets the 

hymn Come Down, O Love Divine). Stanhope 

deploys the full resources of the orchestra 

including a large percussion battery. The 

piece is divided into six sections to form a 

single complete movement. 

Fantasia on a Theme of Vaughan Williams 

was awarded first place in the 2004 Toru 

Takemitsu Composition Prize and performed 

by the Tokyo Philharmonic at the Tokyo 

Opera City on 30 May 2004. 

PHILIP GLASS 

(BORN 1937) 

Violin Concerto No.1 (1987) 

Solo part arranged for soprano saxophone 

by Amy Dickson (2008) 

1. Crotchet = 104 



Amy Dickson, Saxophone 

Philip Glass’ name is familiar in non-classical 

music circles, a rare achievement these days 

for a contemporary composer. Following a 

conventional musical training at the Juilliard 

School, he spent time in Paris where he 

studied with Nadia Boulanger before being 

hired by a filmmaker to transcribe the music 

of sitar player Ravi Shankar for classically 

trained musicians. On his return to New York 

he became part of the avant-garde scene 

before coming to the public’s attention with 

Music in 12 Parts and the opera Einstein on the 

Beach. He has collaborated with a diverse 

range of artists and is a prolific composer: 

his output includes operas, symphonies, 

concertos and major film scores. 

The Violin Concerto was Glass’ first major 

orchestral work and signalled a new 

engagement with the concert hall. It was 

written for Paul Zukovsky, for whom Glass 

began to write following the death of his 

long-time collaborator, violinist Dorothy 

Pixley-Rothschild. 

Amy Dickson loved Glass’ violin concerto 

so much that she arranged it for soprano 

saxophone, an instrument with which Philip 

Glass has a long history: he often heard John 

Coltrane at the Village Vanguard in New 

York, and the instrument was an integral part 

of the Philip Glass Ensemble. In 2009 Amy 

Dickson recorded her arrangement with the 

Royal Philharmonic Orchestra. 


Sarah Wilson, Section Principal Trumpet, Queensland Symphony Orchestra. 

Photo: courtesy Queensland Symphony Orchestra. 

Biographies 

ENRIQUE ARTURO DIEMECKE, 

CONDUCTOR 

Grammy Award-winning conductor Enrique 

Artuo Diemecke is Music Director of the 

Buenos Aires Philharmonic and is in his 

inaugural season as Music Director of the 

Bogota Philharmonic. In the United States he is 

Music Director of the Long Beach Symphony 

in California and Flint Symphony Orchestra in 

Michigan. 

With 20 years at the helm of the Orquesta 

Sinfónica Nacional de México, Maestro 

Diemecke is a frequent guest of orchestras 

throughout the world, most notably the 

National Symphony Orchestra in Washington, 

San Francisco Symphony Orchestra, French 

National Orchestra, BBC Symphony, Royal 

Philharmonic Orchestra, L’Orchestre de Paris, 

Residentie Orkest in The Hague, Los Angeles 

Philharmonic, Simon Bolivar Orchestra in 

Caracas, l’Orchestre National de Lorraine, 

the National Orchestra of Montpellier, the 

Valladolid Symphony, the ORCAM Madrid, 

L’Orchestre de Isle de France, and the 

symphony orchestras of Baltimore, Houston, 

Minnesota, and Auckland. 

An experienced conductor of opera, Maestro 

Diemecke was Music Director of Mexico 

City Opera from 1984-1990. He returned 

to opera in 2008 with Werther at the Teatro 

Colón in Buenos Aires, which followed 

performances of Le Jongleur de Notre Dame 

with tenor Roberto Alagna in Montpellier. 

The Deutsche Grammophon release of that 

production was awarded the Grand Prix de 

l’Academie du Disque Lyrique for 2010. He is a 

regular guest of the Teatro Zarzuela in Madrid, 

was awarded the Jean Fontaine Orpheus d’Or 

Gold Medal for “best vocal music recording” 

for Donizetti’s The Exiles of Siberia, and was 

previously honored with the Bruno Walter 

Orpheus d’Or Prize for “Best Opera Conductor” 

for his recording of Mascagni’s Parisina. 

Maestro Diemecke is an accomplished 

composer. His Die-Sir-E was commissioned 

by the Radio France Festival for the World Cup 

Final concert in 1998. His works Chacona a 

Chávez, Guitar Concerto, and Camino y vision 

have received many performances both in 

Europe and in the United States. 


SERGIO TIEMPO, PIANO 

Described by Gramophone magazine as “a 

colourist in love with the infinite variety a piano 

can produce”, Sergio Tiempo has developed a 

reputation as one of the most individual and 

thought-provoking pianists of his generation. 

Tiempo established his international credentials 

at an early age, making his professional debut 

at the age of fourteen at the Concertgebouw 

in Amsterdam. A tour of the USA and a 

string of engagements across Europe quickly 

followed. Since then he has appeared with 

many of the world’s leading orchestras and 

conductors and is a frequent guest at major 

festivals worldwide. 

Born in Caracas, Venezuela, Tiempo began his 

piano studies with his mother, Lyl Tiempo, at 

the age of two and made his concert debut 

when he had just turned three. Whilst at the 

Fondazione per il Pianoforte in Como, Italy, 

he worked with Dimitri Bashkirov, Fou Tsong, 

Murray Perahia and Dietrich Fischer-Dieskau. 

He has received frequent musical guidance and 

advice from Martha Argerich, Nelson Freire 

and Nikita Magaloff and performs regularly 

with fellow-countryman and friend Gustavo 

Dudamel including concerts with the Simón 

Bolívar Orchestra. 

Sergio Tiempo has made a number of highly 

distinctive and acclaimed recordings. On EMI 

Classics’ ‘Martha Argerich Presents’ label, he 

recorded Mussorgsky Pictures at an Exhibition, 

Ravel Gaspard de la Nuit and three Chopin 

Nocturnes, and for Deutsche Gramophon he 

has recorded several discs with Mischa Maisky, 

including a disc of Rachmaninov which was 

awarded five stars by Classic FM and the BBC 

Music Magazine, which also named it their 

benchmark Recording. In June 2010, Tiempo 

gave the world premiere of a new work for 

two pianos and orchestra ‘Tango Rhapsody’ 

by Argentinean composer Federico Jusid with 

Karin Lechner and the RSI Lugano under Jacek 

Kaspszyk at the Martha Argerich Festival in 

Lugano, where he is a visitor each year. Most 

recently, Sergio Tiempo released a disc of 

French music for two pianos with Karin Lechner 

for Avanti Classic entitled La Belle Epoque. 

Recent concerto highlights for Tiempo 

have included return visits to the Orchestre 

Philharmonique de Radio France in Paris and 

on tour to his native South America, the 

Singapore Symphony and the Music Days in 

Lisbon Festival, as well as debuts with the BBC 

Symphony, City of Birmingham Symphony, 

Northern Sinfonia, Queensland Symphony 

Orchestra and the Auckland Philharmonia. 

Recent recital engagements have included a 

sell-out recital debut at the Queen Elizabeth 

Hall in London in the International Piano Series, 

debuts at the Vienna Konzerthaus, London’s 

Wigmore Hall, the Berlin Philharmonie and 

Edinburgh International Festival as well as 

return visits to the Oslo Chamber Music 

Festival and the Warsaw Chopin Festival. 

Highlights of the 2011/12 season and 

beyond include two return engagements 

with the Los Angeles Philharmonic with both 

Gustavo Dudamel and Nicholas McGegan 

and return engagements with the Queensland 

Symphony Orchestra, a European tour with 

the Buenos Aires Philharmonic Orchestra and 

debuts with the Zurich Chamber Orchestra, 

Brussels Philharmonic Orchestra and Orquestra 

Nacional do Porto as well as recital tours of 

Seoul, Italy and South America. 

JOHANNES FRITZSCH, CHIEF CONDUCTOR 

Johannes Fritzsch was born in Meissen, 

Germany, in 1960. He received his first musical 

tuition in piano and organ from his father, a 

Cantor and Organist. He also studied violin and 

trumpet. His higher education was received at 

the Carl Maria von Weber Music Academy in 

Dresden, majoring in conducting and piano. 

In 1982, after completing his studies, Maestro 

Fritzsch was appointed 2nd Kapellmeister 

(Conductor) at the Volkstheater in Rostock. 

There he gained acclaim in performances such 

as the East German premier of The English Cat 

by Hans Werner Henze in 1986. In 1987 Mo. 

Fritzsch accepted the position of Kapellmeister 

with the Staatsoper Dresden, Semperoper, 

where he conducted more than 350 opera and 

ballet performances within five years. 

After the German reunification Mo. Fritzsch 

was able to accept engagements outside of 

Eastern Europe. In 1992/3 he worked as 1st 

Kapellmeister at the Staatsoper Hannover. 

During that time Mo. Fritzsch was appointed 

Chief Conductor and Artistic Director at the 

Städtische Bühnen and the Philharmonisches 

Orchester in Freiburg. There he remained 

until 1999 enjoying widespread acclaim. The 

Verband Deutscher Musikverleger (association 

of German music publishers) honored his 

1998/99 season with the distinction of having 

the “Best Concert Program”. 


Mo. Fritzsch has performed with many 

orchestras, both within Germany and 

internationally. These include: Hamburger 

Sinfoniker, Düsseldorfer Sinfoniker, 

Philharmonie Essen, Nationaltheater-Orchester 

Mannheim, Staatskapelle Schwerin, Berliner 

Sinfonie Orchester, Staatskapelle Dresden, 

Norddeutsche Philharmonie Rostock, 

Staatsorchester Halle, the Swedish Radio 

Orchestra, the Norwegian Radio Orchestra, 

the Danish Radio Symphony Orchestra, the 

Orchestre Philharmonique Strassbourg, 

the Orchestra National de Montpellier, the 

Orchestra National du Capitole de Toulouse, 

the Sydney Symphony Orchestra, Orchestra 

Victoria, the Tasmanian, Queensland and West 

Australian Symphony Orchestras. 

Opera Companies with which he has worked 

include: Sächsische Staatsoper Dresden, 

Opernhaus Köln, Deutsche Oper Berlin, 

Komische Oper Berlin, Opera Bastille Paris, 

Grazer Oper, the Royal Opera Stockholm, 

Malmö Operan and Opera Australia in Sydney 

and Melbourne (including Wozzeck, Don 

Giovanni, Carmen, Tosca, Rigoletto, Salome, 

Der Rosenkavalier). 

Mo. Fritzsch recently held the position of 

Chief Conductor of Staatsoper Nürnberg. He 

is currently Chief Conductor of the Grazer 

Oper and Grazer Philharmonisches Orchester in 

Austria and Chief Conductor of the Queensland 

Symphony Orchestra. 

ALEXEI OGRINTCHOUK, OBOE 

Alexei Ogrintchouk is one of the most 

outstanding oboists performing today. A graduate 

of the Gnessin School of Music and the Paris 

Conservatoire, where he studied with Maurice 

Bourgue, Jacques Tys and Jean-Louis Capezzali, 

he combines astounding technique with virtuosity 

and lyricism. 

Originally from Moscow, Alexei was already 

performing all over Russia, Europe and Japan 

from the age of 13. He is the winner of a 

number of international competitions including 

the prestigious CIEM International Competition 

in Geneva at the age of 19. He was also the 

winner of the European Juventus Prize in 1999, 

two “Victoires de la Musique Classique” Prizes 

in France in 2002, the Triumph Prize in Russia 

in 2005 and Borletti Buitini Trust Award winner 

in 2007. He has been part of the prestigious 

Rising Stars and BBC New Generation Artists 

Programmes. 

Since August 2005 Alexei Ogrintchouk has been 

first solo oboist of the Royal Concertgebouw 

Orchestra, Amsterdam with Mariss Jansons. Until 

then he held the same post at the Rotterdam 

Philharmonic Orchestra with Valery Gergiev - a 

position which he secured at the age of 20. 

Alexei Ogrintchouk manages to combine 

orchestral playing with his ever-increasing solo 

engagements. A charismatic and technically 

brilliant soloist, he has performed concertos 

under the baton of conductors such as Mariss 

Jansons, Gennady Rozhdestvensky, Seiji Ozawa, 

Fabio Luisi, Kent Nagano, Michel Plasson, Sir 

Andrew Davis, Roman Kofman, Daniel Harding, 

Jiri Belohlavek, Stephan Deneve, Lothar Zagrosek, 

Jaap van Zweden, John Neschling, Andris Nelsons, 

Susanna Malkki, Walter Weller, Ion Marin, Lu Jia, 

Gianandrea Noseda, Hubert Soudant, Martyn 

Brabbins, Thomas Sanderling, Kees Bakels, Enrique 

Mazzola and with the world’s greatest orchestras 

including the Royal Concertgebouw Orchestra, 

Orchestras of the Bolshoi and Mariinsky Theatres, 

Orchestre de l’Academia Nazionale di Santa 

Cecilia, all the Orchestras of the BBC, Orchestre 

de la Suisse Romande, Royal Philharmonic 

Orchestra, Russian National Orchestra, 

Kontzerthausorchester Berlin, Budapest Festival 

Orchestra, Royal Scottish National Orchestra, 

Orchestra Sinfonica do Estado de Sao Paulo, 

National Orchestra of Belgium, Beethovenhalle 

Orchestra Bonn, Orquesta Sinfonica de Tenerife, 

Basel Symphony Orchestra, Rotterdam 

Philharmonic Orchestra, Norrkoping Symphony 

Orchestra, Orchestra del Teatro Lirico di Cagliari, 

Stavanger Symphony Orchestra, Belgrade 

Philharmonic, MAV Orchestra Budapest, Dutch 

Radio Kamer Philharmonie, Sinfonia Varsovia, 

Nordwestdeutsche Philharmonie, Moscow 

Virtuosi, KREMERata Baltica, Moscow Soloists, 

Amsterdam Sinfonietta, Orchestre d’Auvergne, 

Europa Galante, Koln Sinfonietta, New European 

Strings, Orquesta Barroca de Sevilla, as well as the 

Concertgebouw, Munich, Stuttgart, Mito, Prague, 

UBS Verbier and Swedish Chamber Orchestras. 

As a recitalist and chamber musician he is much in 

demand and has performed throughout the world 

including in Theatre du Chatelet, Theatre des 

Champs-Elysees, Cite de la Musique, Auditorium 

du Louvre in Paris, Concertgebouw in Amsterdam, 

Musikverein in Vienna, Royal Albert Hall, Wigmore 

Hall in London, Carnegie Hall in New-York, 

Auditorium in Tel Aviv, Suntory Hall in Tokyo... 

He is also a frequent guest at festivals such 

as BBC PROMS, MIDEM, Colmar, Lockenhaus, 

Verbier, Luzern, Berliner Festspiele, Santa Cecilia, 

Cortona, Edinburgh Internation Festival, City of 

London Festival and the White Nights, Crescendo, 

Svyatoslav Richter December Nights and Easter 

Festival in Russia. 

His chamber music partners have included 

Gidon Kremer, Radu Lupu, Thomas Quasthoff, 

Misha Maisky, Vladimir Spivakov, Yuri Bashmet, 

Jean-Yves Thibaudet, Maurice Bourgue, Sarah 

Chang, Tabea Zimmermann, Nikolai Znaider, Valery 

Affanasiev, Julian Rachlin, Leif Ove Andsnes, Fabio 

Biondi, Alexander Lonquich, Dmitri Sitkovetsky 

and Sergio Azzolini as well as Belcea, Eben, Sine 

Nomine and Tokyo string quartets. 

Alexei Ogrintchouk is named successor of Maurice 

Bourgue as oboe professor at the Haute Ecole 

de Musique de Geneve from September 2011. 

He also has been a visiting professor at the 

Royal Academy of Music in London since 2001, 

professor at the Musikene in San Sebastian 

since 2009 and at the Royal Conservatory in 

the Hague since 2010. He is giving a number 

of masterclasses such as Pablo Casals Chamber 

Music Academy in Prades, Mahler Academy in 

Ferrara, Cursos de Verano in Bilbao, Academie 

Musicale de Villecroze or Weimar International 

Master Class. 

His first CD with the works by Schumann 

was released on Harmonia Mundi “Nouveau 

musicians” Series to exceptional reviews. His 

discography includes the world premiere of the 

slow movement of Beethoven oboe concerto 

(Raptus classics), music by Britten (Record One), 

Skalkotas (Bis Records), Mozart Oboe Concerto 

with the Concertgebouw Chamber Orchestra 

(PentaTone Classics). He also recently released 

Bach Oboe Concertos with the Swedish Chamber 

Orchestra (Bis Records). 


DAVID LALE, CELLO 

Born in 1962 David began studying the cello 

at the age of five. 

By the age of 12 he was on a junior 

scholarship to the Royal College of 

Music. Later he won an Associated Board 

scholarship to study at the Royal Academy 

of Music under Douglas Cummings. Further 

study was undertaken with Thomas Igloi and 

Karina Georgian. 

In 1984 David joined the BBC Symphony 

Orchestra working under chief conductor 

Sir John Pritchard and other renowned 

conductors as Gennadi Rodchezvensky, 

Pierre Boulez and Riccardo Muti. 

Leaving to work with the London Symphony 

Orchestra and world class conductors 

Claudio Abbado, Lorin Maazel and Georg 

Solti, David also worked with the Royal 

Philharmonic Orchestra and toured as soloist 

with the London Virtuosi chamber orchestra. 

In 1990 David immigrated to Australia and 

became the Principal Cello of the Queensland 

Symphony Orchestra. During his time here, 

he has performed many concertos with the 

orchestra and broadcast numerous recitals 

and performances on ABC Classic FM and 

4MBS. He has also developed a reputation 

as a leading cello teacher on the staff at 

both the University of Queensland and the 

Queensland Conservatorium of Music. 

The Board of the Royal Academy of Music 

acknowledged David’s successful career 

and contribution to the music profession 

by electing him an Honourary Associate in 

1997. 

David continues to work as Principal Cello 

with the Queensland Symphony Orchestra. 

YOKO OKAYASU, VIOLA 

Born in Tokyo, Ms. Okayasu began her 

professional training on violin under Yuri 

Vladimir Ovcharek at the St. Petersburg 

Conservatory (Russia), and continued 

with Camilla Wicks at the San Francisco 

Conservatory of Music (USA). As a violinist, 

she earned her Masters in Chamber Music 

under the direction of Mark Sokol and Ian 

Swenson, and studied viola with Jodi Levitz. 

She also holds a Bachelor of Engineering in 

Architecture from the Tokyo University of 

Science and worked for the design firm Hisao 

Koyama Atelier in Tokyo. 

She has served a principal violist of the 

Filharmonica Arturo Toscanii (Parma, Italy), 

the Danish Radio Sinfonietta (Copenhagen, 

Denmark and the Australian Opera and Ballet 

Orchestra (Sydney) and has also worked 

as a member of the San Diego Symphony 

(California, USA). She currently holds the 

position with the Queensland Symphony 

Orchestra. 

As a devoted chamber musician, she has 

appeared with the Satori Quartet (Colorado, 

USA), ADORNO Ensemble (San Francisco, 

USA), Sound of Lyons (Colorado, USA), 

Kurilpa Quartet (Brisbane), Lunaire Collective 

(Brisbane) and as a guest leader with the 

Camerata of St. John’s. 

BENJAMIN NORTHEY, CONDUCTOR 

Leading Australian conductor Benjamin 

Northey is one of Australia’s brightest 

and most versatile musical stars. Northey 

studied conducting with John Hopkins at the 

University of Melbourne, graduating in 1999 

with first class honours in performance, 

followed by a Master of Music degree in 

conducting. In 2001, under the Symphony 

Australia Conductor Development Program, 

he studied intensively with Finnish maestro 

Jorma Panula. 

In 2002, Northey was the highest placed 

applicant to the prestigious Sibelius Academy 

Orchestral Conducting Course in Helsinki, 

Finland where he studied for three years 

with Leif Segerstam and Atso Almila. In 

2003, Northey was awarded the 2003 

Brian Stacey Memorial Trust Award under 

patron Sir Charles Mackerras. His 2005 

diploma concert with the Sibelius Academy 

Symphony Orchestra included the European 

Premiere of Brett Dean’s Ampitheatre and 

was awarded the international jury’s highest 

possible mark. He completed his tertiary 

studies in 2006 as a guest student in Jorma 

Panula’s class at the Stockholm Royal College 

of Music in Sweden. 


In 2007, Northey was selected as one 

of three participants worldwide to the 

prestigious International Conductor’s 

Academy of the Allianz Cultural Foundation, 

involving a year-long mentorship with both 

the London Philharmonic Orchestra and 

the Philharmonia Orchestra and conductors 

Christoph von Dohnanyi and Vladimir 

Jurowsky. This culminated in a performance 

of Stravinsky’s Symphony in C in June 2008 

at London’s Royal Festival Hall, to strong 

critical acclaim. 

Within Australia, Northey made his 

professional debut with the Melbourne 

Symphony Orchestra in 2003. Since 

returning permanently in 2006, Northey has 

been a regular guest conductor with all the 

Australian state symphony orchestras and 

led opera and ballet productions including 

L’elisir d’Amore, The Tales of Hoffmann and 

La Sonnambula for State Opera of South 

Australia. 

In 2010, Northey conducted a major 

programme with the London Philharmonic 

Orchestra at Festival Hall and made his 

debut with London’s Southbank Sinfonia. 

Concert appearances in 2010 and 2011 

included conducting the Sydney, Melbourne, 

Queensland, Adelaide, West Australian and 

Tasmanian Symphony Orchestras, Orchestra 

Victoria, the New Zealand and Christchurch 

Symphony Orchestras and the Hong Kong 

Philharmonic. 

Currently Associate Conductor at the 

Melbourne Symphony, Northey’s future 

engagements include Don Giovanni and Così 

fan Tutte for Opera Australia and concert 

appearances with all of Australia and New 

Zealand’s major symphony orchestras. 

AMY DICKSON, SAXOPHONE 

Leading the way in her field, saxophonist 

Amy Dickson, has gained renown in all 

corners of the globe and is recognized widely 

for her remarkable and distinctive tone 

and exceptional musicality and technique. 

Her unique style and impressive versatility 

have inspired composers throughout the 

world. Her passion for new music has led 

to the creation of a number of works and 

she is constantly in demand as a soloist, 

regularly appearing with the world’s leading 

orchestras. She plays with a beauty of 

tone and elegance which led Ivan March of 

Gramophone magazine to write: 

“She has an individual and unusual tone, 

luscious, silky-smooth, sultry and voluptuous 

by turns; her phrasing is beautifully finished, 

her control of dynamic infinitely subtle. 

She plays very songfully, is often gentle 

and restrained, at times sounding like the 

chalumeaux of a clarinet. But she can rise to 

a passionate climax, as in Danza de la moza 

donosa, or slinkily respond to Debussy's La 

plus que lente”. 

She performs with orchestras including 

the London Philharmonic Orchestra, Royal 

Philharmonic Orchestra, Philharmonia 

Orchestra, Vienna Chamber Orchestra, and 

the Sydney Symphony Orchestra. Dickson 

is deeply committed to the development 

of new repertoire for the saxophone, and 

has made a substantial contribution to the 

orchestral, chamber and solo repertoire. 

Whilst proving to be a brilliant interpreter of 

contemporary music, she is equally devoted 

as a champion of established saxophone 

repertoire, regularly performing the concerti 

of Glazunov, Debussy, Villa Lobos, Ibert, 

Larsson and Milhaud. In 2010 she performed 

Harrison Birtwistle’s Panic with Bramwell 

Tovey, David Jones and the Melbourne 

Symphony Orchestra. 

She regularly commissions new works, and 

makes arrangements of existing works 

from other instrumental repertoire. She has 

performed her arrangement of Philip Glass’ 

Violin Concerto with a number of orchestras, 

and gave the first performances of it with 

Otto Tausk and the Auckland Philharmonia, 

and also the Adelaide Symphony Orchestra, 

in 2008. In 2012 she returns to Australia to 

perform it with the Queensland Symphony 

Orchestra under the baton of Benjamin 

Northey. Her arrangement has been 

published by Chester Novello. 

Currently, composers writing for her 

include Peter Sculthorpe, Geoffrey Gordon, 

Piet Swerts and Jessica Wells. In the 

past, Ross Edwards, Graham Fitkin, Steve 

Martland, Huw Watkins, Martin Butler, 

Michael Csanyi-Wills, Cecilia McDowall 

and Timothy Salter have all dedicated 

works to her. In 2012 she will perform 

a new concerto by Ross Edwards, Full 

Moon Dances, with the Adelaide, Perth, 

Hobart and Sydney Symphony Orchestras. 

Edwards also arranged his oboe concerto, 

Bird Spirit Dreaming for Dickson, and the 

first performance was with the Canberra 

Symphony Orchestra, under the baton of 

Nicholas Milton, in May 2011. In October 

2011, she gave the first performance of 

a new arrangement of Graeme Koehne’s 

concerto, InFlight Entertainment, with Brad 

Cohen and the West Australian Symphony 

Orchestra, at the opening Gala concert at the 

2011 Commonwealth Heads of Government 

Meeting. 

Born in Sydney, Dickson made her 

concerto debut aged 16, playing the 

Dubois Concerto with Henryk Pisarek and 

the Ku-ring-gai Philharmonic Orchestra, 

and subsequently became a recipient of 

the James Fairfax Australian Young Artist of 

the Year award. On her 18th birthday she 

recorded the Dubois Divertissement with 

John Harding and the Sydney Symphony 

Orchestra. The following year she moved 

to London where she took the Jane 

Melber Scholarship to study at the Royal 

College of Music with Kyle Horch, and the 

Conservatorium van Amsterdam with Arno 

Bornkamp. During this time she became 

the first saxophonist to be awarded the 

Gold Medal at the Royal Overseas League 

Competition (2004), the Prince’s Prize 

(2005), and to become the winner of the 

Symphony Australia Young Performer of the 

Year Competition (2004). 

Dickson is an ambassador of the Prince’s 

Trust and the Australian Children’s Music 

Foundation. She is a Selmer Paris Performing 

Artist, is dressed by Armani, and is endorsed 

by REN skincare. 


MAESTRO 8 

QSO WITH LISA GASTEEN 

The great Wagnerian returns in partnership with QSO and Bruckner’s 

massive Eighth 

8pm, Saturday 11 August 2012 

QPAC Concert Hall 

CONDUCTOR 

Johannes Fritzsch 

SOPRANO 

Lisa Gasteen 

WAGNER/ARR. MOTTL 

Wesendonck Lieder 

BRUCKNER 

Symphony No.8 

Johannes Fritzsch and the QSO 

demonstrate the synergy they have 

created in their magisterial Bruckner 

cycle with the most awesome of all, 

the Eighth; a work conductors and 

orchestras don’t perform as much 

as construct out of hewn granite. 

Despite its dark, sinister beginning, it 

ends in a blaze of glorious optimism, 

as befitted the God-fearing Bruckner. 

The intimacy and restrained passion 

of Wagner’s Wesendonck Lieder 

capture the intensity of forbidden 

love, anticipating the atmosphere 

of his opera, Tristan & Isolde 

and provide an opportunity for 

internationally acclaimed Australian 

soprano and Wagner specialist, 

Lisa Gasteen to captivate Brisbane 

audiences with rapturous singing. 

Lisa Gasteen

Thank You. 

Queensland Symphony Orchestra is proud to acknowledge the generosity and 

support of our donors for our philanthropic programs. 

Maestro Series Chair Donors 

Chair Donors support an individual 

musician’s role within the orchestra 

and gain fulfillment through 

personal interactions with their 

chosen musician. 

Principal Guest Conductor Chair 

($40,000+) 

Eivind Aadland 

Trevor & Judith St Baker & ERM Power 

Guest Chairs ($20,000+) 

Arthur Waring 

Concertmaster Chair ($5,000) 

Warwick Adeney 

Prof. Ian & Mrs Caroline Frazer 

Dr Cathryn Mittelheuser AM 

John & Georgina Story 

Principal Chairs ($3,000) 

Tim Corkeron, Timpani 

Dr Philip Aitken & Dr Susan Urquhart 

Peggy Allen Hayes 

Yoko Okayasu, Viola 

Dr Ralph & Mrs Susan Cobcroft 

Gail Aitken, Second Violin 

Leonie Henry 

Sarah Wilson, Trumpet 

Mrs Andrea Kriewaldt 

Jason Redman, Trombone 

Frances & Stephen Maitland OAM RFD 

Alexis Kenny, Flute 

Nola McCullagh 

David Montgomery, Percussion 

Dr Graham & Mrs Kate Row 

Player Chairs ($1,500) 

Matthew Kinmont, Cello 

Dr Julie Beeby 

Kate Travers, Clarinet 


Matthew Jones, Cello 

Dr David & Mrs Janet Ham 

Janine Grantham, Flute 

Desmond B Misso Esq 

Helen Poggioli , Viola 

Mrs Rene Nicolaides OAM & the late 

Dr Nicholas Nicolaides AM 

Delia Kinmont, Violin 

Jordan & Pat Pearl 

Stephen Phillips, Violin 

Dr Graham & Mrs Kate Row 

Andre Duthoit, Cello 

Anne Shipton 

Brenda Sullivan, Violin 

Anonymous 

Brian Catchlove, Clarinet 

Anonymous 

Instrument Gifts 

QSO thanks the National Instrument 

Bank and the Anthony Camden 

Fund for their generous loan of fine 

instruments to the recitalists of our 

Young Instrumentalist competition. 

Encore Annual Giving 

Encore Annual Giving Donors 

support the orchestra’s community 

outreach and education initiatives, 

the purchase of essential orchestra 

equipment and the engagement 

of the finest Australian and 

international conductors and artists. 

Gold Baton ($5,000-$9,999) 

Mrs Beverley J Smith 

Symphony ($2,000-$4,999) 


Mrs Marie Isackson 

Dr Les Masel & Ms Pam Masel 

Nola McCullagh 

Rodney Wylie 

Anonymous (1) 

Concerto ($1,000 – $1,999) 

Mrs I. L. Dean 

Mrs Elva Emmerson 

Gwenda Heginbothom 

Ian Paterson 

Justice Anthe Philippides 

Patrick Pickett CSM 

Pat & Jude Riches 

Gwen Warhurst 

Anonymous (4) 

Suite ($500 – $999) 

Dallas & Judith Allman 

David & Judith Beal 

Dr John & Mrs Jan Blackford 

Dr Betty Byrne Henderson AM 

Ian & Penny Charlton 

In memory of Mrs Betty Crouchley 

Dr Judith Gold 

Dr W.R. Heaslop & Dr L. M Heaslop 

Dr Alison Holloway 

Mrs Patricia Killoran 

John Martin 

Mrs Daphne McKinnon 

Dr Howard & Mrs Katherine Munro 

Dr Henry Nowik AO OBE & Mrs 

Kathleen Nowik 

Dr Richard & Mrs Awen Orme 

Mrs Leah Perry 

Anne Shipton 

Michael & Helen Sinclair 

Mr Bernard & Mrs Margaret 

Spilsbury 

Mr Ron Stevens OAM & the late 

Mrs Toni Stevens 

Dr Damien Thomson & Dr Glenise 

Berry 

Prof. Hans & Mrs Frederika 

Westerman 

Anonymous (4) 

All donors are acknowledged on our website www.qso.com.au. 

To learn more about our Philanthropic Programs please contact Gaelle Lindrea 

on (07) 3833 5050, or you can donate online at www.qso.com.au/donatenow. 

QSO_Philanthropy_Listing_20Mar2012_V2_ART.indd 1 20/03/12 4:41 PM 

PATRON 

Her Excellency the Governor of Queensland 

Ms Penelope Wensley, AO 

BOARD OF DIRECTORS 

Greg Wanchap Chairman 

Marsha Cadman 

Tony Denholder 

Jenny Hodgson 

Tony Keane 

John Keep 

Karen Murphy 

Jason Redman 

MANAGMENT 

Patrick Pickett Chief Executive Officer 

Ros Atkinson Executive Assistant to the CEO 

Marjorie Griffiths Senior Administration 

Coordinator 

Alison Barclay Administration Officer 

Richard Wenn Director - Artistic Planning 

Kate Oliver Assistant Artistic Administrator 

Nicola Manson Assistant Artistic Administrator 

Samantha Cockerill ~ Education Liaison Officer 

Jaime Burke * Education Assistant 

Matthew Farrell Director - Orchestra 

Management 

Nina Logan Orchestra Manager 

Peter Laughton Production Manager 

Judy Wood Orchestra Librarian /OH & S 

Coordinator 

Ashleigh Potter Operations Coordinator 

Fiona Lale * Assistant Librarian / Artist 

Liaison 

Nadia Myers * Assistant Librarian 

Gaelle Lindrea Director - Philanthropy 

Birgit Willadsen Philanthropy Officer 

David Martin Director – Development 

and Sales 

Katya Melendez Relationships and Sales 

Coordinator 

Rachael Wallis Director – Marketing and 

Communications 

Tegan Ward Marketing Officer 

Kendal Alderman Marketing and Media Relations 

Officer 

Miranda Cass * Media Relations Assistant 

John Waight Chief Financial Officer 

Sandy Johnston Accountant 

Donna Barlow * Accounts Payable Officer 

* Part time 

~ Funded with the Assistance of the Queensland Department 

of Education and Training 

QUEENSLAND PERFORMING ARTS CENTRE 

PO Box 3567, South Bank, Queensland 4101 

Tel: (07) 3840 7444 

CHAIR 

Henry Smerdon AM 

DEPUTY CHAIR 

Rachel Hunter 

TRUSTEES 

Simon Gallaher 

Helene George 

Bill Grant 

Sophie Mitchell 

Paul Piticco 

Mick Power AM 

Susan Street 

Rhonda White 

EXECUTIVE STAFF 

John Kotzas Chief Executive 

Liesa Bacon Director-Marketing 

Ross Cunningham Director - Presenter Services 

Jacquelyn Malouf Director – Development 

Kieron Roost Director - Corporate Services 

Tony Smith Director - Patron Services 

ACKNOWLEDGMENT 

The Queensland Performing Arts Trust is a Statutory 

Authority of the State of Queensland and is partially 

funded by the Queensland Government 

The Honourable Rachel Nolan MP 

Minister for Finance, Natural Resources and The Arts 

John Bradley 

Director-General, Department of the Premier 

and Cabinet 

Leigh Tabrett PSM 

Deputy Director-General, Arts Queensland 

Patrons are advised that the Performing Arts Centre 

has EMERGENCY EVACUATION PROCEDURES, a FIRE 

ALARM system and EXIT passageways. In case of an 

alert, patrons should remain calm, look for the closest 

EXIT sign in GREEN, listen to and comply with directions 

given by the inhouse trained attendants and move in an 

orderly fashion to the open spaces outside the Centre. 


Our Partners 

GOVERNMENT PARTNERS 

CORPORATE PARTNERS 

MEDIA PARTNERS 

CO-PRODUCTIONS 

QSO thanks our partners for their support. Call qtix on 136 246 or go to qso.com.au to book. 

All rights reserved, no part of this publication may be reproduced or transmitted in any form on in any means, electronic 

or mechanical, including photocopy, recording or any information storage or retrieval system without permission in writing. 

The opinions expressed in this publication do not necessarily reflect the beliefs of the publication’s team, publisher or any 

distributor of the publication. While every effort has been made to ensure the accuracy of statements in this publication, 

Queensland Symphony Orchestra cannot accept responsibility for any errors or omissions, or for matters arising from 

clerical or printers’ errors. Every effort has been made to secure permission for copyright material prior to printing. 

36 2012 | QSO APRIL PROGRAM

April 2012 - Queensland Symphony Orchestra

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